Sep 10 –Oct 12, 2014
Amadeus By Peter Shaffer
2014/15 season Amadeus Isango Ensemble
The magic Flute & venus and Adonis
Next to Normal It’s a Wonderful Life: A Live Radio Play One Night in Miami… The Amy Herzog Festival:
After the Revolution 4000 Miles Marley
“You gave me the desire to serve You—
An Introduction to the World of the Play
which most men do not have—
Antonio Salieri is a devout composer, who swears his
then saw to it the service was shameful in the ears of the server. Grazie! You gave me the desire to praise You— which most men do not feel— then made me mute. Grazie tante! You put into me the perception of the Incomparable— which most men never know! —then ensured that I would know myself forever mediocre.”
–Salieri
loyalty to God in exchange for the ability to praise Him through music.
Wolfgang Amadeus Mozart is a child prodigy who
had been paraded around Europe by his father “making him play the keyboard blindfolded, with one finger, and that sort of thing.” Now a spirited (albeit conceited) young man with a controversial fiancé in tow, Mozart lands in Vienna, where Salieri serves as an official court composer. Here in 1780s Vienna, the stakes are high for both men. To maintain viable careers, they must preserve the Emperor’s approval and tutor enough students. Not only their salaries, but their freedom to compose music depend on it. More than anyone, Salieri recognizes the genius of Mozart’s music, which makes Mozart’s impish and vulgar behavior seem to him all the more abhorrent. Outraged at a God who would choose this “obscene child” as His vessel, Salieri’s piety dissolves. Praising Mozart’s music at every step, Salieri nonetheless pursues the destruction of its creator, while swearing vengeance against his own. As their paths intertwine, Salieri learns of Mozart’s weaknesses, and how to exploit them. Patient and plotting Salieri helps fuel Mozart’s flaws—his ego, his extravagance, his infidelities—while pretending to be his friend. Salieri begins to compete with the unsuspecting Mozart for everything: women, pupils, positions, reputations, and even their respective places in history. And when Mozart finally becomes a social outcast, and his life begins to crumble beneath unemployment, debt, and disease, Salieri is there to take full advantage. But vengeance is a tricky game, and Salieri’s apparent success is not the end of the story.
Cast Table of contents
A m a deus By Peter Shaffer Directed by Kwame Kwei-Armah
Sep 10–Oct 12, 2014
2 The Setting
3 Meet the Playwright
The Cast Steve Brady*
Count Orsini-Rosenberg
4 Letters from Mozart & Salieri
Yvonne Erickson*
Teresa Salieri
6 The Myth of Murder
Kayla Ferguson*
Constanze Weber
8 Bios: The Cast
10 Bios: The Artistic Team
Gannon McHale*
Count von Strack
12 Bios: The Staff
13 Audience Services
17 Honoring Murray Kappelman
18 Supporter Spotlight
Stanton Nash*
Wolfgang Amadeus Mozart
Bruce Randolph Nelson*
Antonio Salieri
James Joseph O’Neil*
Kevin Orton*
19 Supporting the Annual Fund
Jay Russell*
Venticelli
26 Preview: Up Next
28 Staff
Lucia Spina*
Venticelli
Natanya Washer
Baron van Swieten Emperor Joseph II
Katherina Cavalieri
ENSEMBLE
William Cooke, Christopher Dews, Cori Dioquino, Hillary Mazer, Sarah Olmsted Thomas, Joel Ottenheimer, Kedren Spencer, Ann Turiano, Frank Vince
Laura Smith* Stage Manager Lindsay Eberly*
Assistant Stage Manager
*Member of Actors’ Equity Association Season 2014/15 Sponsor:
Amadeus is made possible by:
The Artistic Team
Kwame Kwei-Armah
Timothy R. Mackabee
Director Set Designer
David Burdick Costume Designer With additional support from:
Michelle Habeck
Media Partner:
Amadeus Media Sponsor:
Center Stage is also made possible by:
Lighting Designer
Victoria Deiorio Sound Designer
Paloma McGregor
Lewis Shaw
Gavin Witt
Francois Loup
Choreographer Fight Choreographer Production Dramaturg Speech Consultant
Amadeus is presented by special arrangement with SAMUEL FRENCH, INC.
There will be a 10-min intermission.
PLEASE TURN OFF ALL ELECTRONIC DEVICES. IN CASE OF EMERGENCY 410.986.4080 (during performances). Center Stage is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.
Amadeus | 1
S et t in g
time and Place
The action of the play takes place in Vienna, Austria, in November 1823 and, in recall, the decade 1781-91.
“The place throughout is Vienna. The year—to begin with—1781. The age still that of the Enlightenment: that clear time before the guillotine fell in France and cut all our lives in half.” —Salieri
“[Emperor] Joseph’s Vienna did not look like an imperial
capital characterized by court ostentation and related ecclesiastical displays, but like a metropolis from which a
vast empire was governed, where a bureaucracy with regular
business hours produced an overwhelming crush of traffic
every morning and evening, and where the bourgeois circles were beginning to mingle at public entertainments, and
attire was no longer a reliable indication of social position.” —Mozart in Vienna by Volkmar Braunbehrens
“In addition to its native Viennese, the city’s 1790 population of was a far cry from London’s 900,000 or Paris’s 700,000. Salzburg has around 200,000 included Turks, Hungarians, Romanians, Italians, about 15,000 inhabitants.” and a variety of others—a cultural and linguistic mix probably —from Mozart: An Introduction to the Music, the Man, and the Myths unmatched anywhere else in Europe. Its total population, however, by Roye E. Wates 2
M EET Shaffer on Mozart’s Music
The playwright
“It’s an extraordinary thing about Mozart that you never tire of him. He never
bores me… For example, I think I now know the Beethoven symphonies so well that I don’t much play them anymore or go to concerts… They are superb, but I think I have received most of what I’m going to receive from them. But I never
stop receiving full measure say, from the great Mozart piano concertos or from a visit to the Marriage of Figaro. They are marvelous and inexhaustible works, and they touch an absoluteness in music which I find deeply mysterious and which very few other composers do touch.”
Peter Shaffer and his twin brother
Anthony, also a playwright, were born in Liverpool, England, in 1926. From 1944 to 1947, Shaffer worked as a conscript in a coalmine, giving him a lifelong sympathy for hard work. Nevertheless, in 1956, with a successful television play to his credit, Shaffer defied his father’s conviction that real work demanded a ‘serious’ profession and quit to be a writer (and, briefly, a music critic).
Shaffer on Amadeus “Amadeus is not an objective documentary biography of Wolfgang Mozart… A lot of people who criticize the play on that level appear never to have heard of fiction.”
—Peter Shaffer, interviewed by Mike Wood, New York City, 1992. Courtesy of the William Inge Center for the Arts.
After several radio and television dramas, his first stage play, Five Finger Exercise, debuted in London and New York in 1958—directed by John Gielgud. It won the New York Drama Critics' Circle Award for the best foreign play of the season. This led to a steady series of successes through the 1960s, including a commission for Laurence Olivier at the National Theatre. Equus took the theater world by storm in 1973, and Amadeus in 1979, followed by the popular film adaptation. He wrote Lettice and Lovage in 1987 for Maggie Smith, and in 1992, won the William Inge Award for Distinguished Achievement in the American Theatre. Shaffer has won Tony Awards, an Oscar, and many other theater prizes. He was made an OBE in 1987 and knighted in 2001.
Photos from the original production of Amadeus at the Royal National Theatre in London, 1979.
Amadeus | 3
In 1781, Emperor Joseph II summoned to Vienna the 15-year-old Duchess Elisabeth of Württemberg, intending
to betroth her to his nephew. As part of her education, he sought a teacher to instruct her in piano and music. Among the obvious candidates for the position were Antonio Salieri—an established member of the Emperor’s court—
and the young upstart, Wolfgang Amadeus Mozart. What might Joseph have had to go on in making his decision?
Majesty,
to the Princess Elisabeth. consideration as pianoforte instructor I am pleased to submit myself for your servant, you know my majesty's Kapellmeister, and grateful Having been for some years now your accomplishments and abilities well. us Italian parents in d Viennese today, I was born to prospero No doubt you recall that, while a prou ved—for life as a priest. study music while I prepared—I belie to able was I re whe 0, 175 in o nan Leg other plans for me. Despite this devotion to God, He had g me to Venice to a wealthy family friend deigned to brin , dead enly sudd nts pare my both At 15, with your own beloved composer I came into the benevolent charge of continue my musical training. Thence her supported such ght me back here to Vienna and furt brou who n, sma Gas stro Mae r, eiste and Kapellm telling me “I thought it my ght me first to Church before lessons, talent as I showed. It was he who brou with God.” duty to begin your musical education changing my life forever. me then to your majesty ’s attention, ght brou that e grac e divin ly sure was It continued grace, a most ardent patron. Thanks to your self your ing show nce, nda atte my You insisted on 20, with four more to follow in was able to compose my first opera at I t, cour your of ce ficen bene the and demise, you made me your 24 when, upon Maestro Gassman's sad the next four years. Thus, I was only Kapellmeister to the Italian opera. imperial royal chamber composer and s and unknown alike. I have, to instruct a series of pupils, illustriou With these positions, I have been able esty has benefited in ic teacher; I trust that even your maj mus e ntiv atte ble, relia , reet disc a en I trust, prov capacity. some measure from my counsel in this to God as a composer e my own limitations and give glory com over to able been have I ort, With your supp majesty, writing by your s, I have labored to serve Him and your year 10 than e mor For or. duct con and me to step in for Maestro embraced by the world. You allowed sufferance Italian operas that have been Marie Antoinette enjoyed its the Paris Opera, where even Queen for s aïde Dan Les pose com to ck Glu must credit to your bounty; followed, Les Horaces and Tarare, I triumph. The two commissions that come with them. so too the further plaudits that have out the grace of the achievement, no fortune thus far with Majesty, I have known no success, no or to repay these in l good will. It would give me great hon eria imp your of sing bles the and y Almight ness, Princess Elisabeth. to the musical instruction of her high some small measure by helping to see You have but to command. ant,
Your most humble and obedient serv Antonio Salieri
4
Antonio Salieri
Majesty
ted capital from my long misery I am but recently arrived in your exal position, teaching piano to Princess in Salzburg. I hear of an available myself from a very young age, and Elisabeth. Having been a prodigy nt I am obviously the most compete having since taught many pupils, ide prov to ire— Emp your if not all of teacher and musician in the city— t other choice could there be? Wha ess. princ g youn instruction to the
�.A.�ozar�
Your humble servant,
To his Imperial Majesty, Joseph
II,
most mighty, glorious, and exalted holy Roman
Forgive the temerity of your humble subj
ect, wife to composer—and your devo
Emperor.
ted servant— your gracious Majesty will find it in your heart to overlook my audacity in writing, but rather can look with favor on the entreaties here in. You have of course known my husband and his astonishing abilities since his youth. As but a child, he composed his first opera at your requ est; he previously performed for the cour t of your mother, Empress Maria Teresa, at a mere seven. Before that, he composed his first conc erto at four. Wolfgang's skills as a performer and imp roviser have delighted onlookers from his earliest days in his native Salzburg. From that early start , he joined his father on tours across the breadth of Europe. They dazzled courts in Paris and Mun ich and beyond, as well as here in Vien na. Eight years they devoted to this, your Majesty, earning little but the respect of all who heard him play. At 14, my husband received from His Holiness the Pope the Order of the Gol den Spur, but few other opportunities followed. He has had many private pupils, and pleased many courtiers, but has not found a patron as musically discerni ng as your majesty. Eventually, and for too long, he took a position as organist for the Archbishop of Salzburg: a position of great glory to God, but of little earthly merit to one as accomplished and innovative as he. His talents as a composer you know well , from nearly 500 works: his sinfonias and concerti, his symphonies, sonatas, and divertimenti . He has achieved acclaim with operas like Idomeneo and The Abduction from the Seraglio, and mor e await. Illustrious and recognized mae stros like Haydn and Gluck praise his work and his worth. Wolfgang Amadeus Mozart; I hope that
It was here in Vienna that we met and
married; in fact, I was myself his mus ic student before I was his wife, and can attest personally to his skills and charms as an instructor. It is now here in Vienna that we have settled in hopes that, in the enlightened home for the arts you have made, he may at last find fertile ground for his dreams—and unique abilities—as a composer. To support these dreams, I hope that your Majesty will invite my husband to instruct the Princess. With fervent hope and sincere gratitud e,
Constanze Mozart, née Weber
Amadeus | 5
The Mythology “And the Lord had regard for Abel and his offering, but for Cain and his offering he had no regard.
1791-Viennese composer and musician Wolfgang Amadeus Mozart becomes increasingly ill He reports visits from a mysterious “grey messenger,” commissioning him to write a Requiem Mass—which he convinces himself will be his own. Increasingly delirious, he shares his fears of an “Italian cabal” at court out to get him.
MOZART IS DEAD On December 5, Mozart dies after an intense bout of fever. On December 7, a Berlin newspaper reports “Mozart is—dead... Because his body swelled up after his death, it is even believed that he was poisoned.”
1798-Biographer Franz Niemetschek fuels the rumor with accounts that Mozart had foreseen his own death—weeping that,
“It won’t be long now; I’ve surely been given poison!”
1803-Fellow composer Carl Maria von Weber, related to Mozart by marriage, hears of an accusation implicating Salieri in Mozart’s death—rumors he seems to credit. That same year, an early biography of the dead musician wrestles with the question of possible poisoning, putting on record the fact of the suspicions even as it tries to dismiss them.
6
1823After a severe physical and
mental breakdown, Salieri is admitted to the hospital.
Word soon spreads through Vienna and beyond that he has admitted to Mozart’s murder, then attempted suicide. An old friend reports him insisting, “I can in all good faith swear that there is no truth to the absurd rumor.” This does little to dampen public ardor for the popular version of events.
1824- The story of Salieri’s guilty anguish spreads. Beethoven’s nephew joins others in letting Mozart’s former student know, “Salieri
1822-Gioachinno
Rossini, visiting Vienna, reportedly jokes with Salieri about the persistent rumors.
declares that he has poisoned Mozart.”
One ardent defender publishes a Letter in Defence of Salieri Regarding the Accusation of His Having Poisoned Mozart. Leipzig’s noted journal, the Allgemeine musikalische Zeitung, features the debate. But denials only serve to confirm the rumors in the court of public opinion.
oF Murder
“All the rumors fit to print.”
So Cain was very angry, and his countenance fell.” —Genesis 4: 3-5
Russian poet
1830Alexander Pushkin publishes the short poetic dialogue “Mozart and Salieri” in his Little Tragedies, cementing for all time the tale of Salieri poisoning his rival, Mozart, and with it, the elemental confrontation between divine genius and envious mediocrity. “Who dares to say that even proud Salieri Could stoop to envy, like a loathsome snake...? No one! ... But now - myself I say it - now I do know envy! Yes, Salieri envies, Deeply, in anguish envies. O ye Heavens! Where, where is justice, when the sacred gift, When deathless genius comes not to reward Toil, devotion, prayer, self-sacrifice, But puts her halo round a...frivolous idler's brow? O Mozart, Mozart”
Mozart was murdered by
his fellow Freemasons! 1861- German antiquarian Georg
Friedrich Daumer has a new theory: Mozart was murdered by his fellow Freemasons. Daumer claims that Mozart had not fully carried out Masonry’s “party line” in The Magic Flute, and so was sentenced and executed by his Brothers. This theory later gets elaborated in the Nazi period, notably by General Erich Ludendorff and his wife, who devote the family press to the propagation of their claims.
1898- Russian
composer Rimsky-
Korsakov uses Pushkin’s poem as libretto for an opera retelling once more the story of envious Salieri defying God and genius to poison Mozart; ironically, he uses many of Salieri's technical innovations in the dramaturgy of his composition.
1967- A study of Mozart’s death argues that an engraving on the frontispiece of the first libretto of The Magic Flute contains eight allegories of Mercury, the god who gave his name to the poison which the author insists killed Mozart; the engraving was made by the Freemason Ignaz Alberti. Secret hints of Masonic vengeance are traced all the way up to the Mozart postage stamp issued by Austria in 1956, bearing eight Mercury allegories in its frame.
grey messenger Agent of the Masons
1971- In
Mozarts Tod (1971)three German doctors publish more explicit incrimination of the Masons as the murderers of Mozart; according to this theory, the “grey messenger” ordering the Requiem was an agent of the Masons announcing their death sentence for the crime of having revealed Masonic secrets in The Magic Flute. They implicate Salieri, and—as doctors—go to great lengths to analyze Mozart’s final symptoms as evidence of his poisoning.
Myth becomes legend 1979-
In his award-winning play, later filmed by Milos Forman, Peter Shaffer reprises elements of all of these swirling rumors, myths, speculations, and theories. Myth becomes legend. Amadeus | 7
Bios The Cast
Steve Brady*— Count Orsini-Rosenberg. Center
Tides, VEEP, Hack, Homicide, American Gothic, Matlock. Education—American Academy of Dramatic Arts; VCU.
Stage: debut. Broadway— Inherit the Wind with Christopher Plummer. Kayla Ferguson*— Off-Broadway—Soho Constanze Weber. Playhouse: Bill W. And Dr. Bob; The Mint: The Center Stage: Bus Stop. Power of Darkness; Perry Street: A Dangerous NYC—The Heights Players: Personality; Irish Arts: Poor Beast in the Rain. The Foreigner; Radio Theatre Tour/International—The Exonerated with NYC: King Kong; Co-Op Lynn Redgrave and Robin Williams; West Theater East: Twelfth Night. Television— Side Story, 2009 World Tour; A Christmas Boardwalk Empire; Girls. Education— Carol, Germany. Regional—TheatreWorks NYU Tisch graduate, Stella Adler Studio. Silicon Valley: The Great Pretender For my ever supportive parents. (premiere); Cincinatti Playhouse: King O’ the Moon; Rep Theatre St. Louis: 12 Angry Men; Gannon McHale*—Count Shakespeare Theatre Company: Hughie; von Strack. Center Stage: Syracuse Stage: A Christmas Carol; Royal debut. Broadway—James Alexandra (Toronto): Enigma Variations; The Joyce’s The Dead (dir. Richard Wilma: Spin; Triad Stage: New Music: Better Nelson), The Sound of Music Days; Paper Mill Playhouse: The Diary of (dir. Susan Schulman). Off Anne Frank; Gulfshore Playhouse: Tartuffe; Shadowland: The Seafarer. TV/Film—Law & Broadway—Midtown Festival 2012: Final Order, Law & Order: Criminal Intent, Seinfeld, Analysis; Little Schubert Theater: Fame; Sullivan St. Playhouse:The Fantasticks, The Spin City, Beverly Hills 90210. Lamb’s Theater: The God Committee. National Tours—Of Mice and Men; My Fair Yvonne Erickson*— Lady. Recent Regional—Barter Theater: Teresa Salieri. Center Stage: Tuesdays with Morrie, The Diary of Anne Lady Windermere’s Fan, Frank, Pennsylvania Shakespeare Festival: Young Playwrights Festival. Henry IV, Part 1; Long Wharf Theatre: Guys & Regional—Rep Stage: A Dolls, James Joyce’s The Dead. Other Young Lady of Property Regional—ACT San Francisco, Alaska (MD Theatre Guide Best Supporting Actress Repertory Theatre, Arkansas Repertory, 2013, second place), The Guys; Studio Theatre: Birmingham Theatre, The Citadel Theater, Guantanamo; Theater Virginia: The Heiress; The Hartman Theater, Huntington Theater, American Century Theatre: One Touch of Indiana Repertory, Seattle Repertory. Venus; Mill Mountain Theatre: Seascapes; International—Japan Tour: The Fantasticks. Barksdale Theatre: Three Tall Women; Film—Lincoln (Steven Spielberg); Author of Theatre IV: Shadowlands, I’m Getting My Act Stealth Boat: Fighting the Cold War in a Fast Together and Taking It On The Road; Attack Submarine (Naval Institute Press 2008). Blueridge Theatre Festival: How He Lied To Her Husband; Firehouse Theatre Project: Speed The Plow; Blue Flamingo Theatre Co.: Stanton Nash*—Wolfgang A Streetcar Named Desire, Les Liasons Amadeus Mozart. Center Dangereuses, Laundry and Bourbon. Film/ Stage: debut. New York— TV—Sally Pacholock, White Reindeer, Ladder 3 Sticks, Ensemble Studio 49, Mothman Prophecies, Dangerous Lives of Theatre, NYMF. Regional— Altar Boys, Spirit Lost, Lassie, The Prince of Denver Center, McCarter,
8
Steppenwolf, Twin Cities Theater Company, Wicked (Chicago), Georgia Shakespeare. Also writer of Recursion (currently on the film festival circuit). Education—University of Minnesota/Guthrie Theatre.
Bruce Randolph Nelson*— Antonio Salieri. Center
Stage: Vanya and Sonia and Masha and Spike, Animal Crackers, …Edgar Allan Poe, Galileo, Arms and the Man. Regional—Rep Stage: The Goat, Hysteria, The Violet Hour (Helen Hayes Award), The Dazzle (Helen Hayes Award), Irma Vep (Helen Hayes nom), Faith Healer (Helen Hayes nom); Everyman Theatre: Company Member, The Dresser, Red, You Can’t Take It with You, Private Lives, Shipwrecked! (Best Actor City Paper), I Am My Own Wife, The Pavilion (Best Actor City Paper); Folger Theatre: The Comedy of Errors, She Stoops to Conque; Olney Theatre Center: Farragut North, The Underpants; Woolly Mammoth Theatre: Company Member, Dead Man’s Cell Phone (Dwight, Originated Role), Fuddy Meers (Helen Hayes nom); The Shakespeare Theatre: The Taming of the Shrew; Signature Theatre: Never the Sinner. Tour—National Players. Facilitation—McCormick Spice, Johns Hopkins University. Teaching— Howard Community College, Everyman Theatre, Stevenson University. Education— Towson University.
James Joseph O'Neil*— Baron van Swieten.
Center Stage: King Lear, She Stoops to Conquer (both dir. Irene Lewis). Broadway— Roundabout: Present Laughter with Victor Garber, directed by Nicholas Martin. Off Broadway—Epic Theatre Ensemble, Classic Stage Company, Lincoln Center Theatre, and the 47th St Theatre. Regional—Repertory Theatre of St. Louis, American Repertory Theatre, Westport Country Playhouse, Williamstown Theatre
Bios The Cast
Festival, South Coast Rep, Mark Taper Forum, Huntington Theatre Co., Alabama Shakespeare Festival, Old Globe Theatre, Long Wharf Theatre, American Stage Festival. Film/TV—Dovid Meyer, Deep Powder, The Bourne Legacy, Fair Game, Zodiac, The Knick, Person of Interest, Law & Order (all three), 24, Veronica Mars, Numb3rs, Charmed, Sex and the City. Education— MFA/USD, BFA/Adelphi U.
Kevin Orton*—Emperor Joseph II. Center Stage:
debut. Broadway—Amadeus (1999 Revival). Regional— The Public Theater: Merry Wives of Windsor; Guthrie: Julius Caesar; Ahmanson: Amadeus; Cincinnati Playhouse: Pride & Prejudice, Three Musketeers, Twelfth Night, Smell of the Kill; Repertory Theatre of St. Louis: Saint Joan, Twelfth Night, Gross Indecency; Pioneer Theatre Co: Cyrano de Bergerac, Is He Dead; NY Classical: Much Ado About Nothing, Henry V, Tempest; Buffalo Studio Arena: Mud River Stone (Lynn Nottage, world premiere); Summerscape: Uncle Vanya (featuring Peter Dinklage), The Acting Company (4 Seasons). TV/Film—Law & Order, Darwin-The Series, One Take, Dakota. Narrates regularly for Recorded Books. Musically, everything from opening for Violent Femmes to original music for Twelfth Night. Leader of "Gothic Americana" band, The Maledictions. Full discography online (iTunes, Amazon, Bandcamp, etc).
Jay Russell*—Venticelli.
Center Stage: debut. Broadway—End of the Rainbow, The Play What I Wrote. Off Broadway—Our Town; Barrow Street: Around the World in 80 Days; Irish Rep: Normal Heart; Public. Tours—Wicked, Beauty & the Beast, Applause. International—Fully Committed, Cat on a Hot Tin Roof; English Theatres of Vienna & Frankfurt. Regional—
Guthrie: End of the Rainbow; Long Wharf: A Natanya Washer— Civil War Christmas; Arena Stage: Noises Off; Katerina Cavalieri. Center Goodspeed: City of Angels; Repertory Stage: debut. Opera—Brown Theatre St. Louis: Gross Indecency, An Ideal Memorial Presbyterian: Husband; Cincinnati Playhouse: Importance Premier Soloist in the Tiffany of Being Earnest, Mystery of Irma Vep; Actor’s Concert Series; Peabody Theatre Louisville: Natural Selection; Ordway: Opera Theater: L’incoronazione di Poppea, Anything Goes; North Shore: Tarzan; Bucks Lakme, Die Fledermaus, Don Giovanni, I County: Meet Me in St. Louis; Utah Capuleti e I Montecci, Idomenio; El Paso Shakespeare: A Midsummer Night’s Dream; Opera Company: Il Trittico, Aida, La Boheme, Olney: Design for Living. Film—Morning Tosca. International Opera—Universidad Glory, In Lieu of Flowers, Ride, Trust Me. Autónoma de Cuidad Juarez. Education— TV—Boardwalk Empire, Ugly Betty, Louie, Peabody Conservatory. Lyric soprano. Sopranos, Law & Order(s), Bored to Death. Training—Syracuse University, LAMDA.
Lucia Spina*— Venticelli. Center Stage:
debut. Broadway—Kinky Boots (original cast), South Pacific, Legally Blonde, Les Miserables, …Spelling Bee. Off-Broadway—Silence! The Musical (original cast); Fugitive Songs (original cast). Tour—Legally Blonde. Regional—Kinky Boots (original cast); Milwaukee Rep: Winter Wonderettes (original cast); Barrington Stage: The Mysteries of Harris Burdick (original cast); Long Wharf: Man of La Mancha; Human Race: Bat Boy: The Musical; Madison Rep: The Marvelous Wonderettes; Ravinia Festival: Sunday In The Park With George, Anyone Can Whistle (dir. Lonny Price); Drury Lane Oakbrook: Lucky Stiff; Drury Lane Water Tower Place:…Spelling Bee (dir. James Lapine), The Full Monty. Film/ TV—Law & Order: SVU, The Black Box. Education—North Central College.
*Member of Actors' Equity Association
Amadeus | 9
Bios
The Artistic Team Peter Shaffer—Playwright. Early work— From 1956 to 1957, Shaffer worked as a literary critic for the weekly review Truth; his Balance of Terror appeared on television, and The Prodigal Father was broadcast on the radio. Shaffer’s first stage play, Five Finger Exercise, won the New York Drama Critics’ Circle Award for the best foreign play (1959-60). He worked as music critic for London’s Time and Tide (1961-62). In Center Stage staff and guests gather to greet the cast and crew of Amadeus, a tradition the Theater 1962, a double-bill of his high comedies The enjoys at the first rehearsal of every show. After welcoming remarks and introductions, the Artistic Private Ear and The Public Eye was staged in Team gives presentations of their work and vision, offering the staff deeper insight into the play. Staff and guests are then invited to observe the first reading. London. A year later, he wrote a screenplay for William Golding’s The Lord of the Flies From left Artistic Director Kwame Kwei-Armah, Choreographer Paloma McGregor. with British director Peter Brook. The Royal Hunt of the Sun premiered in 1964 and soon moved to London’s National Theatre; Sir Picnic; a.m. Sunday; The Rainmaker; Blithe Timothy R. Mackabee—Set Designer. Laurence Olivier then commissioned Black Spirit; many others. Regional—Everyman Center Stage: debut. Broadway—The Comedy for the National Theatre (1965). Theatre: By the Way, Meet Vera Stark; Red; Elephant Man (starring Bradley Cooper), Shaffer began dividing his time between August: Osage County; The Beaux Strategem; Mike Tyson: Undisputed Truth (dir. Spike living in Manhattan and England, and White You Can’t Take It with You; Private Lives; Lee). Off-Broadway—Heathers The Musical, Lies (later White Liars) opened with the All My Sons; The Mystery of Irma Vep; Luce (Lincoln Center Theatre), Much Ado US premier of Black Comedy in New York Walnut Street/Totem Pole: The Last Night About Nothing (Public Theater), Our New (1967). Later plays—Shaffer wrote three Girl (Atlantic Theatre Company). Regional— of Ballyhoo, Moon Over Buffalo. Opera— major stage plays in the 1970s: The Battle of Cincinnati: Don Giovanni; Boston Lyric: I Everyman Theatre: Deathtrap (upcoming), Shrivings (1970), Equus (1973), and Amadeus God of Carnage, Fifty Words. Portland Center Puritani; Tulsa: Tosca, The Barber of Seville, (1979). Shaffer’s biblical epic Yonadab Stage, Dallas Theatre Center, Syracuse Stage, Carmen, Fidelio. Dance—BAM: FLY: Five First premiered at London’s National Theatre in Ladies of Dance; Dayton Contemporary: Yale Rep., Cleveland Playhouse, Philadelphia 1985. Shaffer wrote the comedy Lettice and Lyric Fire (world premiere, dir./choreographer Theater Co., Asolo Rep., Triad Stage, Studio Lovage for actress Maggie Smith (1987). Theatre, Virginia Stage, Paper Mill Playhouse, Dianne McIntyre). Miscellaneous— He returned to radio in 1989 with the Baltimore Symphony Orchestra: Theatre J, Williamstown Theatre Festival: 8 BBC-aired play Whom Do I Have the Honor Seasons. Opera—Paul’s Case, Tosca. Dance— Holiday Spectacular. of Addressing? Shaffer’s The Gift of the Doug Varone & Dancers, Cedar Lake Dance. Gorgon was produced in London in 1992. Michelle Habeck—Lighting Designer. Film/TV—Smash, The Today Show, Mike Awards—He won the 1975 Tony and 1975 Center Stage: dance of the holy ghosts, An Tyson: Undisputed Truth (HBO), Margot at New York Drama Critics’ Circle Award for Enemy of the People, The Whipping Man, A the Wedding. Upcoming—The Band’s Visit Best Play for Equus, and the 1981 Tony and Skull in Connemara, Let There Be Love, Things (directed by Hal Prince). Education—Carver 1981 Outer Critics’ Circle Award for Best of Dry Hours, Elmina’s Kitchen. Opera— Center for Arts & Technology, North Carolina Play for Amadeus. His film adaptation Elixir of Love, The Masked Ball for Austin Lyric School of the Arts, Yale School of Drama. of Amadeus won the 1985 Oscar for Best Opera, Associate Lighting Designer: Julie timothymackabeedesign.com Screenplay. Shaffer was awarded the Taymor’s Grendel, New York. Broadway— honorary title of Commander, Order of the Slide Artist: Thoroughly Modern Millie, David Burdick—Costume Designer. British Empire (1987), he won the William Associate & Assistant Lighting Designer: Center Stage: Twelfth Night; dance of Inge Award for Distinguished Achievement The Boy from Oz, King Hedley, Movin’ Out, the holy ghosts; Animal Crackers; …Edgar in the American Theatre (1992), and was Thoroughly Modern Millie, King Hedley II. Allan Poe; The Mountaintop; An Enemy of knighted by the Queen of England (2001). Off Broadway—Fifty Words, MCC Theatre. the People; The Whipping Man; A Skull in Regional—The Guthrie, Steppenwolf Connemara; The Rivals; Snow Falling on Kwame Kwei-Armah—Director. Theatre Company, The Goodman, Alliance Cedars; Working It Out; Cyrano; Caroline, or (see page 12) Change; Hearts; Things of Dry Hours; Crumbs Theatre, Seattle Children’s Theatre, Minneapolis Children’s Theatre, The from the Table of Joy; Elmina’s Kitchen; 10
Zach, Kansas City Repertory, Penumbra, Arizona Theatre Company, Writer’s Theatre, Lookingglass, and others. Awards—NEATCG Career Development Grant for Design, The University of Texas Faculty Fine Arts Award. Michelle heads the lighting design program at the University of Texas at Austin.
Victoria Deiorio —Sound Designer.
Center Stage: Mud Blue Sky, The Mountaintop, Working It Out. Off Broadway—St. Clement’s Theatre: A Christmas Carol; Active Theatre: Two Point Oh; Joe’s Pub at the Public Theater: Cassie’s Chimera; Steppenwolf at The Duke: The Bluest Eye; NYMTF: Arnie the Doughnut; NYC Fringe Festival at The Connelly: Ophelia. National Tour—LA Theatre Works: Private Lives. Regional—American Players Theatre; Oregon Shakespeare; The Goodman Theatre; Steppenwolf Theatre; Victory Gardens Theater; Syracuse Stage; Cleveland Playhouse; Maltz Jupiter; Delaware Theatre Company; Chautauqua Theater Company; Indiana Repertory; Milwaukee Shakespeare; Northlight Theatre; Writers’ Theatre; Peninsula Players; and many other theaters in and around Chicago, NY, and LA. Awards—Nominated for 11 and winning six Joseph Jefferson Awards, and two After Dark Awards. Professional—Head of Sound Design for The Theatre School at DePaul University in Chicago. www.victoria-sounddesign.com
Paloma McGregor— Choreographer. Center Stage: A Civil War Christmas. Paloma is a Harlem-based movement artist, writer, and organizer. Recent choreography credits include The House that Will Not Stand (World Premiere, co-production of Berkeley Repertory and Yale Repertory), A Winter’s Tale and Spunk (California Shakespeare Theatre), Four Electric Ghosts (The Kitchen), Children of Killers (Castillo Theater), Indomitable: James Brown (SummerStage), For a Barbarian Woman (Fordham University) and Blood Dazzler (Harlem Stage), and the upcoming premiere of Brownsville Song (LCT3). She co-founded Angela’s Pulse with her sister, director
Patricia McGregor, to create and produce Place; The Mountaintop; Bus Stop; An collaborative performance work dedicated Enemy of the People; The Whipping Man; to building community and illuminating Gleam; The Rivals; Snow Falling on Cedars; bold, new stories. They are currently creating Cyrano; Working it Out; Fabulation or, The a new musical about the Supreme Court Re-Education of Undine; Who’s Afraid of case Loving v. Virginia, with playwright Virginia Woolf?; Joe Turner’s Come and Marcus Gardley and composer Justin Gone. Regional—Everyman: Pygmalion, Ellington. Paloma is also developing Building Shipwrecked, The Exonerated, Rabbit Hole, a Better Fishtrap, an iterative performance Doubt, Gem of the Ocean, And a Nightingale project that examines what we take with Sang, The School for Scandal, A Number, us, leave behind, and return to reclaim; the Someone Who’ll Watch Over Me, Yellowman; project is inspired by her 88-year-old father’s Woolly Mammoth: Gruesome Playground vanishing fishing tradition. Paloma toured Injuries, House of Gold, The Unmentionables, internationally for six years with Urban Vigils, After Ashley; Folger: Measure for Bush Women and has danced in work by Liz Measure, The Comedy of Errors (ASM); Olney Lerman, Cassie Meador, Christal Brown, Jill Theatre: Stuff Happens; Theater Alliance: Sigman, and others. Headsman’s Holiday, Pangea, [sic]; Catalyst: Cloud 9; Longacre Lea: Man with Bags. Lewis Shaw—Fight Director. Center Stage: Bus Stop, A Skull in Connemara, Gleam, The Francois Loup—Speech Consultant. Rivals, Crime & Punishment, Snow Falling on Center Stage: debut. François Loup is Cedars. Fight Direction—Everyman Theatre: a singer, actor, and stage director, with Private Lives, All My Sons, Mystery of Irma numerous recordings and directing credits. Vep, Filthy Rich, Much Ado About Nothing. He currently teaches French Diction for Baltimore Opera—Romeo et Juliette, Otello, singers at the Peabody Conservatory. Elektra, Aida; Studio Theatre: Frozen, Mojo; Opera—Metropolitan Opera of New York: Rep Stage: Bach at Leipzig, Lonesome West, More than 100 roles including Bartolo Swan; Globe Theatre, London (Workshop (Mozart and Rossini), Dulcamara in l'Elisir Season); Shakespeare Theatre: Taming of the d’Amore, Sulpice in The Daughter of the Shrew; over 40 episodes of America’s Most Regiment, Sacristan in Tosca, Benoit Wanted. Other Professional—Weapons and Alcindoro in La Bohême, Frank in and Specialty Prop Design. Broadway— Die Fledermaus, and the Major d’Uomo Addams Family, Life in Theatre, Shrek, Pirate in Strauss’s Capriccio. International— Queen, Aida, Scarlet Pimpernel, Tarzan; Renowned basso buffo who made his West End: Royal Family. Regional—Beninternational music debut at the Spoleto Hur Live, Metropolitan Opera, Baltimore Festival at the invitation of Gian Carlo Opera, Washington Opera, Folger Theatre, Menotti (1974). Education & Honors— Shakespeare Theatre. Film/TV—Killer Joe, Premier prix de virtuosité with Summa Death Games. Teaching—Certified Teacher cum laude degree from the Conservatoire with the Society of American Fight Directors de Fribourg and the Conservatoire de and on faculty for the Opera Studio at Genève. He also earned teaching diplomas University of Maryland, College Park. in voice and piano. Since 2013, he has held the title of Professor Emeritus of Gavin Witt—Production Dramaturg. the University of Maryland. (see page 12)
Laura Smith*—Production Stage Manager. Center Stage: Resident Stage
Manager: Wild with Happy; Twelfth Night; Stones in His Pockets; dance of the holy ghosts; Clybourne Park; Beneatha’s Amadeusy | 11
BIOS
The Staff
Artistic Director Kwame Kwei-Armah OBE is an
award-winning British playwright, director, actor, and broadcaster. At Center Stage he has directed dance of the holy ghosts (City Paper Top Ten Productions, 2013); The Mountaintop; An Enemy of the People; The Whipping Man, for which he was named Best Director; and Naomi Wallace’s Things of Dry Hours. Among his works as playwright are Elmina’s Kitchen and Let There Be Love as well as A Bitter Herb, Statement of Regret, and Seize the Day. His latest play, Beneatha’s Place, debuted at Center Stage in 2013 as part of the groundbreaking Raisin Cycle. His other directorial credits include Dominique Morisseau’s Skeleton Crew at the Lark Play Development Center in New York, New York’s Public Theater’s production of Much Ado About Nothing, the World Premiere of Detroit ’67 (nominated for Best Director) at New York’s Public Theater, and the World Premiere of The Liquid Plain at Oregon Shakespeare Festival. He has served on the boards of The National Theatre and The Tricycle Theatre, both in London, and as Artistic Director for the World Arts Festival in Senegal. He was named the Chancellor of the University of the Arts London, and in 2012 was named an Officer of the Most Excellent Order of the British Empire.
Managing Director Stephen Richard has
worked in ballet, museums, and theater, with his longest tenure at Arena Stage. As Arena’s Executive Director, he planned and managed the theater’s capital campaign for the Mead Center for American Theater. Until recently a professor of Arts Management at Georgetown University, he has served on the boards and committees of some of the nation’s most prestigious arts organizations, including the National Endowment for the Arts, American Arts Alliance, the League of Resident Theatres, and the Theatre Communications Group, and currently serves on the Advocacy Committee of the Greater Baltimore Cultural Alliance and on the board of directors of the Maryland Citizens for the Arts.
Associate Director Gavin Witt came to Center
Stage in 2003, after nearly 15 years in Chicago as an actor, director, dramaturg, translator, and teacher—and co-founder of the classically based greasy joan & co theater. In addition to working as a dramaturg on scores of productions, readings, and workshops at Center Stage, he has helped develop new work around the country. Before making his Center Stage mainstage directorial debut with Twelfth Night, Gavin directed more than a dozen Young Playwrights Festival entries, as many new play readings, and the 50th Anniversary Decade Plays for Center Stage. A graduate of
Yale and the University of Chicago, he has taught at the University of Chicago, DePaul, and locally at Towson; served on the advisory boards of several theaters; and spent more than a decade as a regional vice president of the national association of dramaturgs, LMDA.
playwright, and producer. She served as Associate Artistic Director, Director of New Play Development, and Artistic Producer at Hartford Stage and recently as Program Manager of the ArtsEmerson Ambassador Program and as Developmental Producer/Tour Manager of Progress Theatre’s musical The Burnin’. Hana also served as co-founder and Artistic Director of Nasir Productions, which brings theater to underserved communities. Directing credits include The Whipping Man, Gem of the Ocean (6 CCC nominations), Gee’s Bend (CCC Award Best Ensemble, two nominations), Next Stop Africa, Cassie, The Drum, and IFdentity. Hana has directed numerous developmental workshops including Elyzabeth Gregory Wilder’s The Chat and Chew Supper Club. Her plays include All the Women I Used to Be, The Rise and Fall of Day, and The Sprott Cycle Trilogy. Hana is the recipient of the 2009–10 Aetna New Voices Fellowship and the Theatre Communications Group (TCG) New Generations Fellowship.
Center Stage Advisory board
James Bundy, Artistic Director at Yale Repertory Theatre
a group of Artistic Directors from theaters
James Nicola, Artistic Director at New York Theatre Workshop
experienced professionals who are on
Neil Pepe, Artistic Director at Atlantic Theater Company
The Center Stage Advisory Board is
Susan Booth, Artistic Director at Alliance Theatre
Marc Masterson, Artistic Director at South Coast Repertory
across the country. We thank these
Diane Paulus, Artistic Director at the American Repertory Theater
hand to provide guidance and advice to
Carey Perloff, Artistic Director at the American Conservatory Theater
Center Stage leaders, board, and staff.
Bill Rauch, Artistic Director at Oregon Shakespeare Festival
Michael Ritchie, Artistic Director at Center Theatre Group
Tim Sanford, Artistic Director at Playwrights Horizons 12
Associate Director Hana S. Sharif is a director,
Au dien ce services Dining
PEABODY PERFORMS Mozart’s comic opera, Die Entführung aus dem Serail, is just one of the nearly 1,000 concerts and events Peabody will stage this year. Find your favorites at peabody.jhu.edu, or by calling 410-234-4800.
Sascha’s Express, our pre-performance dinner service, is located up the lobby stairs in our Mezzanine café. Service begins two hours before each performance.
Drinks
You are welcome to take beverages with lids to your seats! But please, no food.
Phones
Please silence all phones and electronic devices before the show and after intermission.
Recording
Photography and both audio and video recording are strictly forbidden.
On-Stage Smoking
We use tobacco-free herbal imitations for on-stage smoking and do everything possible to minimize the impact and amount of smoke that drifts into the audience. Let our Box Office or front of house personnel know if you’re smoke sensitive.
Accessibility Like us on Facebook
@george_peabody
Wheelchair-accessible seating is available for every performance. We offer free assistive listening devices, braille programs, and magnifying glasses upon request. An Open Captioned performance* is available one Sunday performance of each production. Several performances also feature Audio Description*.
Parking
If you are parking in the Baltimore Sun Garage (diagonally across from the theater at Monument & Calvert) you can pay via credit card at the pay station in the garage lobby or at the in-lane pay station as you exit. If you have a pre-paid voucher, proceed directly to your vehicle and enter your voucher after inserting the parking ticket you received upon entering the garage, in the machine as you leave. We are unable to validate parking tickets.
Feedback
We hope you have an enjoyable, stress-free experience! Your feedback and suggestions are always welcomed: info@centerstage.org. *Open Captioning & Audio Description performances for Amadeus: Sun, Oct 5. Audio Description at both 2 pm and 7:30 pm, Open Captioning at 7:30 pm.
Amadeus | 13
When the arts succeed, we all succeed. At M&T Bank, we know how important it is to support artists of all kinds. They enhance the quality of life in our communities. That’s why we offer both our time and resources and encourage others to do the same.
M&T Bank is proud to support Center Stage.
mtb.com Š2013 M&T Bank. Member FDIC.
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Amadeus | 15
McCormick
is a proud sponsor of
Center Stage
vor a l F of Together For every shared story, McCormick will donate $1 dollar, up to $1.25 million to help feed those in need. SHARE your Flavor Story through social media, pictures and videos. Visit www.flavoroftogether.com and share yours.
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MC-CENTER_STAGE.indd 1
8/11/14 5:50 PM
In Honor of
Murray M. Kappelman, M.D., our Founding Trustee, who loves this theater. And his wife Joan who loved it too. Center Stage is proud to dedicate two seats in The Pearlstone Theater to Murray M. Kappelman, M.D. A life-long advocate for the arts, Murray is a founding Member of Center Stage, who served as Board President during the 1972-73 Season. A former pediatric physician and professor, he earned both his BS and MD at the University of Maryland.
Amadeus | 17
su ppo rter S potl ight Pat Yevics-Eisenberg
“The carpenters are able to take simple materials and turn them into something truly special. I always tell my friends that the set is worth the price of admission at Center Stage. Each one is breathtaking.”
“I adore theater,” says Patricia Yevics-Eisenberg, longtime Center Stage Member, docent, and donor. “It levels the playing field! When the lights go down, everyone is the same.” But as much as she loves being an audience member, Pat has made an impact behind the scenes. A member of the inaugural docent class, she continues to give regular tours, sharing her passion for all things Center Stage with newcomers and seasoned patrons alike. The work is more than volunteering for Pat; it’s a way of life. As a child in a small coal-mining town in Pennsylvania, Pat did not have many opportunities to see theater. But from the moment she saw Captain Hook in a production of Peter Pan, Pat was mesmerized. “I couldn’t imagine how that could be possible! A man with a hook for a hand in front of me.” She couldn’t get enough—her parents sent her regularly to New York to see shows, including Julie Andrews and Robert Goulet in Camelot. Theater was her escape—a way to imagine a life outside of her own. “Anything to get out of a small town,” she adds jokingly. Pat moved to Baltimore, quickly became a Center Stage Member, and has remained so for more than 15 years. After reading a program notice about the need for docents, Pat decided to become more deeply involved in Center Stage. Legendary Managing Director Peter Culman led the first class of docents on a tour. “Peter showed us every brick of the building— he infused the tour with pure joy, and he left some part of himself in all us who were there that day.”
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Pat’s experience as a teacher is easy to see as she leads people throughout the building. As quickly as she can rattle off historical facts, she can recall intimate stories about various spaces in the building. It’s no wonder that she says “memories live in the hallways” of Center Stage.
Her favorite place in the theater? “The Scene Shop,” she says definitively, “The carpenters are able to take simple materials and turn them into something truly special. I always tell my friends that the set is worth the price of admission at Center Stage. Each one is breathtaking.” She understands fully the unique place that theater holds in the Baltimore community. “I’ve been lucky enough to tour other theaters, and there’s just something really special about what we do here. It’s unique.” Pat wears many hats at Center Stage, and is as connected to the theater now as she was when she went on her first tour. From planning tech dinners for actors and production staff to attending annual galas, it is clear that the theater is in her bones. She continues to support the theater with her time, money, and passion because “it’s important. Center Stage opens audiences up to new playwrights and experiences. It’s a place for new things.”
Board of Trustees Robert W. Smith, Jr., President Edward C. Bernard, Vice President Juliet Eurich, Vice President Terry H. Morgenthaler, Vice President Brian Eakes, Treasurer J.W. Thompson Webb, Secretary Penny Bank Katharine C. Blakeslee* James T. Brady C. Sylvia Brown* Stephanie Carter August J. Chiasera Lynn Deering Jed Dietz Walter B. Doggett, III Jane W.I. Droppa Beth W. Falcone Jennifer Foster Daniel Gahagan C. Richard Gamper, Jr. Suzan Garabedian Adam Gross Cheryl O'Donnell Guth Martha Head* Elizabeth J. Himelfarb Hurwitz Kathleen W. Hyle Ted E. Imes Joe Jennings Murray M. Kappelman, MD* John J. Keenan E. Robert Kent, Jr. Joseph M. Langmead* Kenneth C. Lundeen* John McCardell Marilyn Meyerhoff* Hugh Mohler J. William Murray Charles E. Noell Esther Pearlstone* Judy M. Phares Jill Pratt Philip J. Rauch Harold Rojas Monica Sagner* Renee C. Samuels Rosenfeld Todd Schubert Charles Schwabe George M. Sherman* Scott Somerville Scot T. Spencer Michael B. Styer Harry Thomasian Donald Thoms Katherine Vaughns+ Krissie Verbic Linda S. Woolf * Trustee Emeriti + Deceased
su ppo rt
The Annual Fund at Center Stage
The following list includes gifts of $250 or more made to the Center Stage Annual Fund between
February 13, 2013 and August 15, 2014. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to each person who contributes to Center Stage.
We couldn’t do it without you!
INDIVIDUALS & FOUNDATIONS
The Center Stage Society represents donors who, with their annual contributions of $2,500 or
more, provide special opportunities for our artists and audiences. Society members are actively involved through special events, theater-related travel, and behind-the-scenes conversations with theater artists. Individual Season Sponsors
($50,000+)
Ellen and Ed Bernard Lynn and Tony Deering Jane and Larry Droppa Judy and Scott Phares Mr. and Mrs. Philip Rauch Jay and Sharon Smith Ms. Barbara Voss and Charles E. Noell, III
Daniel P. Gahagan John Gerdy and E. Follin Smith The Goldsmith Family Foundation The Laverna Hahn Charitable Trust Francie and John Keenan Townsend and Bob Kent Kenneth C. and Elizabeth M. Lundeen The Andrew W. Mellon Foundation
Presidents’ Circle
Joseph & Harvey Meyerhoff Family Charitable Funds
The Annie E. Casey Foundation
Mr. J. William Murray
($50,000+)
The Charlesmead Foundation The Shubert Foundation, Inc. Harold and Mimi Steinberg Charitable Trust Ms. Katherine L. Vaughns +
Producers’ Circle ($25,000-$49,999)
Mid Atlantic Arts Foundation George Roche Mr. and Mrs. George M. Sherman
Kathleen Hyle JI Foundation
($5,000-$9,999)
Mary Catherine Bunting August and Melissa Chiasera The Jane and Worth B. Daniels, Jr. Fund of the Baltimore Community Foundation Mr. and Mrs. Walter B. Doggett, III Brian and Denise Eakes
Marilyn Meyerhoff
Dick and Maria Gamper
Terry H. Morgenthaler and Patrick Kerins
Fredye and Adam Gross
Artists’ Circle
Carole and Neil Goldberg Martha Head
($10,000-$24,999)
Murray Kappelman
The William L. and Victorine Q. Adams Foundation and The Rodgers Family Fund
The John J. Leidy Foundation, Inc.
Peter and Millicent Bain The Jacob and Hilda Blaustein Foundation, Inc. The Bunting Family Foundation The Nathan & Suzanne Cohen Foundation The Helen P. Denit Charitable Trust
Mr. John Davison The Mary & Dan Dent Fund of the Baltimore Community Foundation Mr. and Mrs. Mathias J. DeVito
Mr. and Mrs. Michael Falcone The Harry L. Gladding Foundation/ Winnie and Neal Borden Goldseker Foundation/ Ana Goldseker Robert and Cheryl Guth
Steve and Susan Immelt
James T. and Francine G. Brady
Edgerton Foundation New American Play Awards
Drs. Joanna and Harry Brandt Sylvia and Eddie Brown
Department of VSA and Accessibility at the John F. Kennedy Center for the Performing Arts
William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards
James and Janet Clauson
The Lois and Irving Blum Foundation
The Hecht-Levi Foundation, Inc.
Playwrights’ Circle
Stephanie and Ashton Carter
($2,500-$4,999)
Anonymous
Mr. Louis B. Thalheimer and Ms. Juliet A. Eurich
The Miriam and Jay Wurtz Andrus Trust
Penny Bank
Directors’ Circle
Kwame and Michelle Kwei-Armah The Macht Philanthropic Fund Robert E. Meyerhoff and Rheda Becker Stephen Richard and Mame Hunt The Jim & Patty Rouse Charitable Foundation Charles and Leslie Schwabe Dr. Edgar and Betty Sweren, in honor of Cindi Monahan
David and Elizabeth JH Hurwitz Jonna and Fred Lazarus Mr. and Mrs. Earl & Darielle Linehan/ Linehan Family Foundation Mrs. Diane Markman Linda and John McCleary John and Mary Messmore Jim and Mary Miller Mr. and Mrs. Hugh Mohler, Jr. John and Susan Nehra Dr. and Mrs. Lawrence C. Pakula Lainy Lebow Sachs and Leonard Sachs Monica and Arnold Sagner Mr. and Mrs. Todd Schubert Scott and Mimi Somerville Scot T. Spencer Mr. Gilbert H. Stewart and –Ms. Joyce L. Ulrich Mr. Michael Styer Mr. and Mrs. Harry Thomasian Mr. and Mrs. Donald and Mariana Thoms Trexler Foundation, Inc. Jeff Abarbanel and David Goldner Kathryn and Mark Vaselkiv Mr. and Mrs. Loren and Judy Western Ted and Mary Jo Wiese Cheryl Hudgins Williams and Alonza Williams
Ms. Nancy Dorman and Mr. Stanley Mazaroff
Mr. and Mrs. J.W. Thompson Webb
Mr. Todd M. Wilson and Mr. Edward Delaplaine
Fascitelli Family Foundation
Ms. Linda Woolf
Drs. Nadia and Elias Zerhouni Amadeus | 19
su ppo rt Designers
($1,000-$2,499)
Anonymous Denise and Philip Andrews Mayer and Will Baker, in honor of Terry Morgenthaler Ms. Taunya Banks Mr. and Mrs. Marc Blum John and Carolyn Boitnott Dr. and Mrs. Donald D. Brown Sandra and Thomas Brushart Meredith and Joseph Callanan The Campbell Foundation, Inc. Caplan Family Foundation, Inc. Rose Carpenter John Chester Ann K. Clapp
Dave and Chris Powell Jill and Darren Pratt The James and Gail Riepe Family Foundation Nathan and Michelle Robertson The Rollins-Luetkemeyer Foundation Gail B. Schulhoff Bayinnah Shabazz, M.D.
Barbara P. Shelton Mr. and Mrs. Robert N. Smelkinson Mr. and Mrs. Robert and Terri Smith Mr. and Mrs. Scott Smith Ms. Kimberly Stokes Susan and Brian Sullam Robert and Patricia Tarola Mr. and Mrs. Ronald W. Taylor John A. Ulatowski
Dennis and Patty Flynn
Nanny and Jack Warren, in honor of Lynn Deering
Dr. and Dr. Matthew Freedman
Janna P. Wehrle
Frank and Jane Gabor
Sydney and Ron Wilner
Jose and Ginger Galvez
Ann Wolfe and Dick Mead
Pamela and Jonathan Genn, in honor of Cindi Monahan and Beth Falcone Sandra Levi Gerstung Mr. and Mrs. Benjamin H. Griswold, IV F. Barton Harvey, III and Janet Marie Smith Bill and Scootsie Hatter
John W. Wood Eric and Pam Young
Company
($500-$999)
Anonymous
Mr. and Mrs. Delbert L. Adams Mrs. Alexander Armstrong
Len and Betsy Homer
Mr. and Mrs. Robert and Dorothy Bair
Francine and Allan Krumholz H.R. LaBar Family Foundation Fund of The Greater Cincinnati Foundation The Herschel Langenthal Philanthropic Fund Andie Laporte, in honor of Philip and Lynn Rauch Dr. and Mrs. George Lentz, Jr. Robert and Susan Mathias Mr. and Mrs. Steven and Karen McCurdy Joseph and Jane Meyer Mr. and Mrs. John and Beverly Michel Tom and Cindi Monahan Jeannie Murphy Roger F. Nordquist and Joyce Ward
Andrea and Samuel Fine David and Merle Fishman
Megan M. Gillick
Stuart and Linda Grossman Louise Hager Terry Halle and Wendy McAllister Vicki and Jim Handa
Ms. Sue Lin Chong
Dr. and Mrs. J. Woodford Howard
The Honorable and Mrs. E. Stephen Derby Lynne Durbin and John-Francis Mergen
Mr. and Mrs. Lee Ogburn
Patricia Yevics-Eisenberg and Stewart Eisenberg
Dr. Bodil Ottesen
The Eliasberg Family Foundation
Mr. and Mrs. George and Beth Van Dyke Mr. John Wessner
Ralph and Claire Hruban
Mr. and Mrs. Barry and Linda Williams Dr. and Mrs. Frank R. Witter Dr. Richard H. Worsham
Donna Flynn Joan and David Forester Dr. Neal M. Friedlander and Dr. Virginia K. Adams Mark and Patti Gillen Hal and Pat Gilreath Mr. Bruce Goldman Dr. Larry Goldstein and Dr. Diane Pappas Ms. Hannah B. Gould Barbara and Howard Gradet Thomas and Barbara Guarnieri Mr. and Mrs. James Hackman Ada Hamosh Melanie and Donald Heacock Aaron Heinsman and Nick Simko Betsy and George Hess Mr. Donald H. Hooker, Jr. Susan Horn Ms. Sarah Issacs Mr. William Jacob James and Hillary Aidus Jacobs A.H. Janoski, M.D., in honor of Jane Stewart Janoski Mr. and Mrs. James and Julie Johnstone Ann H. Kahan
Mr. James Hughes
Mr. Norman Youskauskas
Mr. and Mrs. Theodore Imes
Advocates
Richard and Judith Katz
Anonymous
Stephen and Laurie Kelly, in memory of Rodney Stieff
Max Jordan Kirk and Debbie Joy
Mr. and Mrs. Padraic Kennedy Mr. George W. King Roland King and Judith Phair King Stewart and Carol Koehler Joseph M. and Judy K. Langmead Claus Leitherer and Irina Fedorova Dr. and Mrs. Ronald Lesser Marilyn Leuthold Dr. and Mrs. Thomas J. Lynch
Maryland Charity Campaign Mary L. McGeady The Honorable Diana and Fred Motz, in memory of Nancy Roche George and Beth Murnaghan Rex and Lettie Myers
James DeGraffenreidt and Mychelle Farmer
David and Sharon Tufaro
Mr. John Wessner
Ms. Jennifer Nelson
Richard and Lynda Davis
Ms. Jill Stempler
Mrs. Heidi Hoffman James and Rosemary Hormuth
Mr. and Mrs. Carl F. Christ
Robert and Janice Davis
Ms. Rosalyn Smith Susan Somerville-Hawes, in honor of The Encounter Program
Rebecca Henry and Harry Gruner
William and Bonnie Clarke Joan Develin Coley and Lee Rice
The Sinksy-Kresser-Racusin Memorial Foundation
Ms. Camille Wheeler and Mr. William Marshall
The Dr. Frank C. Marino Foundation, Inc.
Cindy Candelori
Kurt and Patricia Schmoke
Mr. and Mrs. Barbara and Paul Timm-Brock
Charles and Patti Baum
Harriet and Bruce Blum
Eugene and Alice Schreiber Philanthropic Fund
Sanford and Karen Teplitzky
Kenneth and Christine Lobo
Steve and Teri Bennett
Mrs. Bette Rothman
Mary and Richard Gorman
Mr. and Mrs. Raymond Bank Family Fund of the Baltimore Community Foundation Jaye and Dr. Ted Bayless Fund of the Baltimore Community Foundation
Kevin and Judy Rossiter
Terry L. Gladden
B. Keller
Drs. Dahlia Hirsch and Barry Wohl
Mr. and Mrs. Mark K. Joseph, in honor of Lynn Deering
Sandra and John Ferriter
Dr. and Mrs. Juan M. Juanteguy
Sandra and Thomas Hess
Joseph J. Jaffa
Sheila and Steve Sachs
Dr. Laurie S. Zabin
Ms. Diane Abeloff, in memory of Martin Abeloff
Ms. Harriet F. Iglehart
Faith and Edgar Feingold, in memory of Sally W. Feingold
Mr. Calman Zamoiski, Jr., in honor of Terry Morgenthaler
Donald and Sybill Hebb
The A. C. and Penney Hubbard Foundation
Mr. Al Russell
Dr. Joseph Gall and Dr. Diane Dwyer
Dr. and Mrs. John Strahan
Ms. Suzan Garabedian
The Epp Family
The Earle & Annette Shawe Family Foundation
The Richard and Rosalee C. Davison Foundation
Jack and Nancy Dwyer
Renee Samuels Rosenfeld and Jordan Rosenfeld
Ms. Nancy Freyman
Judith R. and Turner B. Smith
Mr. Jed Dietz and Dr. Julia McMillan
Buddy and Sue Emerson, in appreciation of Ken and Elizabeth Lundeen
Barbara and Sig Shapiro
Mr. Thomas Crusse and Mr. David Imre, in honor of Stephanie and Ash Carter
Albert F. DeLoskey and Lawrie Deering
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Linda Hambleton Panitz
Ms. Jo-Ann Mayer Orlinsky Pitt O’Neill Family Robert E. and Anne L. Prince Mr. and Mrs. Richard Radmer Mrs. Peggy L. Rice Jane and Stanley Rodbell and James R. Shapiro Mr. and Mrs. Harold Rojas Dorothy L. and Henry A. Rosenberg, Jr.
($250-$499)
Rita and Walter Abel Ms. Lisa Abrams Mr. and Mrs. Delbert L. Adams Bradley and Lindsay Alger
Mr. and Mrs. Peter Kaplan Dr. and Mrs. Myron Kellner
Ms. Kim-Khoi Khue Donald Knox and Mary Towery, in memory of Carolyn Knox and Gene Towery
The Alsop Family Foundation
David and Ann Koch
Mr. Alan M. Arrowsmith, II.
Thomas and Lara Kopf
Mr. Wayne Arvin Mrs. Darlene E. Austin Ayd Transport Mike Baker Melissa A. Behm S. Woods and Cathy Bennett Mr. Jason Bennett Rachel and Steven Bloom, in honor of Beth Falcone Ms. Deborah W. Callard Ms. Darlene Campbell The Jim and Anne Cantler Memorial Fund of the Baltimore Community Foundation Mr. and Mrs. David Carter Brenda M. Cley, M.D. Mr. and Mrs. Stanton Collins David and Sara Cooke B.J. and Bill Cowie Gwen Davidson Jay and Bette Demarest Stacie C. Dunlap Deborah and Philip English Ms. Vicky Favor Ms. Rhea Feikin, in memory of Colgate Salsbury Bob and Susie Fetter
Larry Koppelman and Liz Ritter Gina Kotowski Barry Kropf Edward Kuhl Ms. Dorothy Kuhlman Truby LaGarde and Paul Lambertson Mr. and Mrs. William Larson Mr. Raymond Lenhard, Jr. Sara W. Levi Marty Lidston and Jill Leukhardt Dr. and Mrs. John Lion Scott and Ellen Lutrey Nancy Magnuson and Jay Harrell, in honor of Betty and Edgar Sweren Mr. Elvis Marks Mary and Barry Menne Tracy Miller and Paul Arnest, in honor of Stephanie Miller The Montag Family Fund of The Community Foundation for Greater Atlanta, in honor of Beth Falcone James W. and Shirley A. Moore Dr. and Mrs. C.L. Moravec Stephen and Terry Needel
Genine and Josh Fidler, in honor of Ellen and Ed Bernard
Mildred and Timothy NoheIrene E. Norton
Dr. and Mrs. Robert P. Fleishman
Claire D. O'Neill
The P.R.F.B. Charitable Foundation, in memory of Shirley Feinstein Blum
Charitable Foundation and The Andrew W. Mellon Foundation
Michael and Phyllis Panopoulos
Government Grants
Justine and Ken Parezo Fred and Grazina Pearson Linda and Gordon Peltz Chris and Deborah Pennington Dr. and Mrs. James M. Pepple Mr. Martin Perschler Mr. William Phillips Mr. and Mrs. Samuel Phillips Robin and Allene Pierson, in honor of Terry Morgenthaler Ronald and Patricia Pilling Dr. and Mrs. Jeffrey Posner Cyndy Renoff and George Taler Dr. Michael Repka and Dr. Mary Anne Facciolo John and Dotty Reynolds Bob and Phoebe Reynolds Natasha and Keenan Rice Alison and Arnold Richman Ida and Jack Roadhouse Mr. Wilfred Roesler Mr. and Mrs. Louis Rusk Ellen and Dino Sangiamo Dr. Chris Schultz Leslie Shepard Mrs. Kimberly Shorter Mr. and Mrs. L. Siems Ms. Pamela Skelding Dr. Donald and Val Jean Slowinski
Center Stage is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency. Center Stage’s catalog of Education Programs has been selected by the President’s Committee on the Arts and Humanities as a 2011 National Arts and Humanities Youth Program Award Finalist. Baltimore County Executive, County Council, & Commission on Arts and Sciences Carroll County Government Howard County Arts Council through a grant from Howard County Government Center Stage has been funded by the Mayor Stephanie Rawlings-Blake and the Baltimore Office of Promotion and the Arts.
Gifts In-Kind The Afro American Akbar Restaurant Atwater’s The Baltimore Sun Berger’s Cookies Blimpie The Brewer’s Art Cakes by Pamela G
Michele’s Granola Mitchell Kurtz Architect, PC
New System Bakery Oriole’s Pizza and Sub
PromoWorks
Sabatino’s Shugoll Research
Wawa
WYPR Radio www.thecheckshop.us
BGE Becton Dickinson & Company The Annie E. Casey Foundation
Norfolk Southern Foundation PNC Bank Stanley Black and Decker
Mr. Martin Toner, in memory of Joan Marilyn Kappelman
The Fractured Prune
T. Rowe Price Foundation
Susan Treff
Gertrude’s Restaurant
UBS Wealth Management
Laura and Neil Tucker, in honor of Beth Falcone
Gianni’s Italian Bistro
Special Grants & Gifts:
The Leading National Theatres Program, a joint initiative of the Doris Duke
PNC Bank PricewaterhouseCoopers
Sylvan/Laureate Foundation
McCormick Foundation
Deborah King-Young and Daniel Young
Pessin Katz Law P.A.
Stifel Nicolaus
Edible Arrangements
Boe and Patti Wells
McGuireWoods LLP
E-Bay Foundation
Eddie’s on Saint Paul
Ms. Anita Wilmore
Legg Mason
The Deering Family Foundation
MASCO Corporation
Mr. and Mrs. David Warshawsky
Producers’ Circle
Saul Ewing LLP
The City Paper
GT Pizza
Jenkins Baer Associates
Constellation Energy
Kraft Foods
Greg’s Bagels
Howard Bank
Whitmore Print & Imaging
Chipotle
Sarah Valente
FTI Consulting, Inc.
Wegman’s
The Charles Theater
Fisherman’s Friend/ Pez Candy, Inc.
Ernst & Young
A Vintner’s Selection
Bank of America
Cassidy Turley
Environmental Reclamation Company
Utz Quality Foods Village Square Café
The Abell Foundation, Inc.
The Baltimore Life Companies
Cho Benn Holback + Associates
Urbanite
Matching Gift Companies
Ayers Saint Gross, Incorporated
Chapel Valley Landscape Company
Subway
Mrs. Clare H. Stewart, in honor of Bill Geenen
Express Vending
Artists’ Circle
Style Magazine
Illinois Tool Works Foundation
Fred and Cindy Thompson
T. Rowe Price Foundation, Inc.
The Signman
The Classic Catering People
Eggspectations
American Trading & Production Corporation
Planit Agency Republic National Distributing Company
Playwrights’ Circle Anonymous
Pizza Hut
Solomon and Elaine Snyder
Mr. Joseph Terino, in memory of Joan Marilyn Kappelman
Presidents’ Circle
Pizza Boli’s
Casa di Pasta
Renee Straber, in memory of Joan Marilyn Kappelman
THE 2014/15 SEASON IS MADE POSSIBLE BY
Mount Vernon Stable and Saloon
Reverend Sharon Smith
Brenda and Dan Stone
CORPORATIONS
SunTrust Bank
Venable, LLP Whiteford, Taylor and Preston Whiting-Turner Contracting Co. Directors’ Circle Baxter, Baker, Sidle, Conn & Jones, P.A. Funk & Bolton, P.A. Schoenfeld Insurance Associates The Zolet Lenet Group at Morgan Stanley Smith Barney
HoneyBaked Ham Co. The Helmand Hotel Monaco Iggie’s The Jewish Times Mamott
Designers Chesapeake Plywood, LLC Stevenson University
Mars Super Markets Maryland Office Interiors Maryland Public Television
Amadeus | 21
We look forward to your next brilliant performance. KPMG LLP is proud to support CenterStage. kpmg.com
© 2014 KPMG LLP, a Delaware limited liability partnership and the U.S. member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. Printed in the U.S.A. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. NDPPS 302843
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Marylandʼs Classical Music Station
Live streaming, playists, local concert calendar and more at www.wbjc.com
Life is Simply Better Here! Roland Park Place is a unique continuing care retirement community in the heart of northern Baltimore City.
410-243-5700 TDD: 1-800-735-2258
830 West 40th Street Baltimore, MD 21211
www.rolandparkplace.org Amadeus | 23
STEp 14/15 into season New Worlds
Bring a Group and Save! We invite groups to get into the spirit of the season and join us for It’s a Wonderful Life: A Live Radio Play. Full of nostalgia, charm, and heartwarming moments, this show is sure to warm the hearts and toes of audiences young and old.
Revisit Bedford Falls, fall in love again with George and Mary, and discover the magic of an angel named Clarence as a new adaptation set in a radio studio brings to life Frank Capra’s timeless film.
Groups of 10 or more receive: Great Savings
Priority Seating
Personalized Service Easy Payment Plan
Special Bonus Tickets (Groups 20+)
For details, or to book, contact Tia Abner at 410.986.4008 or groups@centerstage.org.
Backstage @ Center Stage
Our annual free, family open house will feature tours, Sat, Sep 27, 2014 workshops, demonstrations, and performances throughout the theater.
Bring the whole family and get a behind-the-scenes look at how theater is made, check out the costume photo booth, face painting, and much more!
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10 am–2 pm
Questions may be sent to
education@centerstage.org.
Want to know more about the show?
In Memory of Tana Hicken
Center Stage is now part of an app called Artsbill !
With this free app, you can access exclusive content, information, and video all in one place. You can even write your own reviews.
Tana Hicken as Hedda Tesman in Hedda Gabler.
Tana was an incredible actress with an immense talent, gracing our stage, Everyman Theatre, and other local venues with memorable performances. She was noted as "A crusader for local artists and a tireless advocate for involving students in the theater” by The Baltimore Sun in 2004, and continued to light up the stage until her passing. We were all inspired by her work and spirit; our collective heart is with Donald and Tana’s family at this time.
Tana Hicken, Ian Kahn, and Pamela Payton-Wright in Arsenic & Old Lace.
At Center Stage, Tana appeared in the following productions: When You Comin’ Back Red Ryder (1976-77)
The Shadow Box (1978-79)
Measure for Measure (1978-79)
Watch on the Rhine (1979-80)
A Day in the Death of Joe Egg (1979-80)
Artsbill is available on iPhone and Android— download today!
A Christmas Carol: Scrooge and Marley (1979-80) Much Ado About Nothing (1981-82) Hedda Gabler (1984-85)
Danton’s Death (1984-85)
The Cherry Orchard (1994-95) Arsenic & Old Lace (2007-08)
Amadeus | 25
prev iew
up next 2014/15 season
“[A] pathbreaking work.” –The Baltimore Sun
“Exhilarating... an achingly poignant score.” –The Washington Post
Next to Normal Get up close and personal with the Pulitzer Prize-winning musical that changed everything, as Next to Normal gets a blistering new production in Center Stage’s intimate Head Theater. The story of one family’s struggle with mental illness, Next to Normal dives boldly into the gaps and crevices of our modern fragmented lives. Set to an electric score, this “brave, breathtaking musical” (The New York Times) gets right to the heart of what it means to truly miss someone.
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DIANA: My psychopharmacologist and I... Call it a lover’s game. He knows my deepest secrets— I know his… name. NATALIE: I don’t need a life that’s normal— That’s way too far away. But something… next to normal Would be okay.
Music by Tom Kitt Book and Lyrics by Brian Yorkey
Oct 8–Nov 16
Next to Normal matches an innovative score with a script that is acerbic, hilarious, unnerving, and raw. This is the story of a suburban family who is far from ordinary. Meet mom, Diana, and dad, Dan; their “Superboy” son Gabe; and his “Invisible Girl” sister Natalie. Watch this intimate foursome (plus Natalie’s new beau and their family doctor) come together to create a powerful, laugh-while-you-cry rock musical that shines a spotlight on familiar domestic dysfunctions as well as realities that run much deeper.
C o mi n g S o o n
Just announced
“One of the best holiday shows around. A fresh and inventive way of reconnecting with a classic story of love and redemption.” –The Chicago Sun-Times
It’s a Wonderful Life: A Live Radio Play
Adapted by Joe Landry
Nov 18–Dec 21
Revisit Bedford Falls, fall in love again with George and Mary, and discover the magic of an angel named Clarence. It’s Christmas Eve in 1946, and inside a radio studio a live broadcast brings to life Frank Capra’s timeless film in all of ts feel-good glory. Be a part of the live studio audience, and join the cast and crew as they take you on a journey through the most important evening in one man’s life. It’s the perfect holiday outing for the entire family and, who knows, an angel might even get his wings.
“A lovable, evocative piece." –The New York Times
Marley A world premiere musical
Music and Lyrics by Bob Marley Book by Kwame Kwei-Armah
May 6-Jun 14
From Center Stage Artistic Director Kwame Kwei-Armah, comes a World Premiere musical based on the life and music Bob Marley. After a failed attempt on his life, Marley left Jamaica in 1976 for London, where he spent nearly two years in self-imposed exile. Chronicling the events surrounding this earth-shaking moment, Marley tells the story of a man transformed into one of the 20th Century’s greatest musical icons. Set in the soundscape of an era, this new musical weaves together the life and music of a man who, to heal himself, first healed his homeland.
Amadeus | 27
staff Kwame Kwei-Armah OBE–Artistic Director | Stephen Richard–Managing Director Administration
Development Associate–Christopher Lewis Events Manager–Brad Norris Development Assistant–Alyson Jacques Auction Coordinator–Sydney Wilner Auction Assistant–Norma Cohen The Edward and Ellen Bernard Development Fellow– Astoria Avilés
Artistic & Dramaturgy
Electrics
Associate Managing Director–Del W. Risberg Special Assistant to the Managing Directors– Kevin Maroney Executive Assistant–Sarah Curnoles Managing Directors’ Fellow–Neil Parikh Managing Directors’ Intern–Arrenvy Bilinski Associate Director–Gavin Witt Associate Director–Hana Sharif Artistic and Dramaturgy Fellow– Catherine María Rodríguez The Lynn and Tony Deering Artistic Director’s Intern– Brandon Butts The Stephanie and Ashton Carter Digital Media Intern– Nick Morrison Hot Desk Resident Playwright–Jenny Connell Davis International Hot Desk Playwright–Mar Gómez Glez Playwrights under Commission–de’Andre Aziza, James Magruder, Daniel Reitz, KJ Sanchez
Audience Relations
Box Office Manager–Mandy Benedix Assistant Box Office Manager/Subscriptions Manager– Jerrilyn Keene Assistant Patron Services Manager–Laura Baker Patron Services Associates–Zerica Anderson, Samrawit Belai, Tiana Bias, Kendrel Dickerson, Sonny Russo, Paul Wissman Front of House Manager & Volunteer Coordinator– Alec Lawson House Managers–Lindsay Jacks, Faith Savill, Paul Wissman Bar Manager–Beth Ann Wilson Van Cleve Audience Relations Intern–Sarah Hurst Audio Description–Ralph Welsh & Maryland Arts Access
Audio
Supervisor–Amy Wedel Audio Engineer–Mercer Aplin The Jane and Larry Droppa Audio Intern– Robin Clenard
Community Programs & Education
Director–Rosiland Cauthen Education Coordinator–Kristina Szilagyi Community Programs & Education Fellow– Joshua Thomas Community Programs & Education Intern– Andrew Stromyer
Costumes
Costumer–David Burdick Draper–Susan MacCorkle Tailor–Edward Dawson Craftsperson–Wiliam E. Crowther First Hand–Elisabeth Roskos The Judy and Scott Phares Costumes Intern– Sarah Barbour The Kathleen Hyle Wardrobe Intern–Mika Eubanks
Development
Annual Fund Manager–Katelyn White Grants Manager–Debbie Joy
The Center Stage Program is published by: Center Stage Associates, Inc. 700 North Calvert Street Baltimore, Maryland 21202 Editor Maggie Beetz Art Direction/Design Bill Geenen Advertising Sales ads@centerstage.org
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Lighting Director–Tamar Geist Master Electrician–Bevin Miyake Staff Electrician– Anthony Reed The Gilbert H. Stewart and Ms. Joyce L. Ulrich Lighting Intern–Jake Roberts
Finance
Director–Susan Rosebery Business Manager–Kathy Nolan Business Assistant–Kacy Armstrong
Scenery
Technical Director–Tom Rupp Assistant Technical Director–Laura Hilliker Scene Shop Supervisor–Trevor Gohr Master Carpenter–Scott Richardson Carpenters– Derek Lundmark, Hunter Montgomery, William Yarbrough, III Carpentry Intern–Caitlin Magness
Scenic Art
Scenic Artist–Stephanie Nimick Scenic Art Intern–Maggie Foley
Stage Management
Resident Stage Managers–Captain Kate Murphy, Laura Smith Production Assistant–Lindsay Eberly Stage Management Interns–Marian Jackson, Kayla Whisman
Graphics
Stage Operations
Information Technologies
The following individuals and organizations contributed to this production of
Art Director–Bill Geenen Production Photographer–Richard Anderson Graphics Intern–Katherine Marmion Director–Joe Long Systems Administrator–Mark Slaughter
Marketing & Communications
Director–Tony Heaphy Public Relations Manager–Cassandra Miller Publications Manager–Maggie Beetz Marketing Associate/Group Sales–Tia Abner Marketing Associate–Sarah Bichsel Digital Content Associate–Emily Salinas The Jay and Sharon Smith Marketing and Communications Intern–Jessica Strasser
Multi-Media
Coordinator–Geoff Moore Multimedia Intern–Emery Becker
Operations
Facilities Manager–Shawn Whitenack Building Engineer–Harry Piasecki Security Supervisor–James Williams Custodial Services Supervisor–Wylie Shaw Housekeepers–Lanair Holland, Lori Duckworth
Production Management
Director of Production–Rick Noble Associate Production Manager–Caitlin Powers Company Manager–Sara Grove Production/Stage Management Intern– Hannah Rennicke The Philip and Lynn Rauch Company Management Intern–Elizabeth Floyd
Properties
Props Manager–Jennifer Stearns Assistant Manager–Nathan Scheifele Artisan–Samantha Kuczynski Artisan–John Reuter The Kenneth C. and Elizabeth M. Lundeen Properties Intern–Rachel Bennick
CONTACT INFORMATION
Box Office Phone 410.332.0033 Box Office Fax 410.727.2522 Administration 410.986.4000 www.centerstage.org info@centerstage.org
Stage Carpenter–Eric L. Burton Wardrobe Office–Linda Cavell
Amadeus
Assistant Lighting Designer–Rachel Alulis Carpenters–Michael Bagley, Rena Brault, Roberto Castrence, J.R. Fritsch, Shelton Hall, Mark Hawkinson, Brian Jamal Marshall, Trevor Wilhelms Costume Design Assistant–Ben Kress Dramaturgy Apprentice–Laura Hawes Draper–Ginny McKeever Electricians–Cara Antico, Alison Burris, Mimi d’Autremont, Jake Epp, Aaron Haag, Patrick Gillespie
First Hand–Jess Rietzler Hair/Wigs–Denise O’Brien
Stitcher–Sue Holmes Tailors Assistant–Maggie Masson Wardrobe Assistant–Anna Tringali
Center Stage operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States. The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists, Local USA-829 of the IATSE. Musicians engaged by Center Stage perform under the terms of an agreement between Center Stage and Local 40-543, American Federation of Musicians.
Center Stage is a constituent of Theatre Communications Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters.
Material in the Center Stage performance program is made available free of charge for legitimate educational and research purposes only. Selective use has been made of previously published information and images whose inclusion here does not constitute license for any further re-use of any kind. All other material is the property of Center Stage, and no copies or reproductions of this material should be made for further distribution, other than for educational purposes, without express permission from the authors and Center Stage.
THEATER FOR THE HEART DLA Piper proudly supports Center Stage and your production of Amadeus under the direction of Kwame Kwei-Armah. We salute your commitment to artistic excellence in Baltimore.
www.dlapiper.com
Robert W. (Jay) Smith, Jr., The Marbury Building, 6225 Smith Avenue, Baltimore, MD 21209 DLA Piper LLP (US) | Attorney Advertising
Sp e ci a l L imit e d E n g a g e m e n t Coming to Center Stage October 17-19
World-renowned South African theater company Isango Ensemble presents an innovative adaptation of Mozart’s The Magic Flute. Performing Mozart’s timeless opera on traditional South African marimbas and percussion instruments, this acclaimed production company’s performances are a special addition to the Center Stage 2014/15 Season that is not to be missed.
“Leaves you with a rare sense of life-enhancing joy.” –Sunday Times UK
Bonus performance of
William Shakespeare's Venus and Adonis Sunday, October 19, 2 pm—only!
Are you a Member? receive $15 discount Use code 15MEMBERMAGIC. Excludes B seating.
Not a Member? If you joined us for Amadeus Receive $10 off Single Tickets Use code 15MOREMAGIC. Excludes B seating.
www.centerstage.org 410.332.0033